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Category: Meeting
1st March 2018 – Frozen Out and Fine Art
Snowed in and called off we will have a week's wait for member Gerry Painter's evening. Something to look forward to. So this week, through the rattle of ice rain on the living room window, which rather underlines the soundness of the decision to call things off, we are going to talk about connecting with our images.
When looking for something to photograph, chance, as we have often reiterated in this blog, falls to the prepared. There is, however, a difference between what fine art photographer Cig Harvey calls "Target Practice" and telling a story, and a personal story, rather than the story of someone else. Now you don't have to go to quite the same limits as she went to, only shooting in one room for a year, but taking responsibility for everything in the frame and avoiding the "Yeah buts'". That is, doing it, rather along the lines we talked of in the last blog, because we are not all full time artists.
Photography is a channel to put our thoughts in. Cig Harvey again. This is a particular form of photography, the fine art angle, but don't we do this consciously or subconsciously, anyway? This, at least in part, is improvement as a continuous process, because the stories never stop, we just switch them off at some point. We are all taking a little moment in history and slicing away at the baggage that surrounds it and showing a truth. Or maybe just taking drunken snaps on the camera phone during an after work drinks session. Maybe something in between, but for those of us who take our art even a little more seriously, there is the recognition of something achieved, with a little something to take forward to the next frame. Basically, "Yes, and …"
Fine art most of us would think beyond us, but we have all taken that sort of image at some time or other, even if by accident. Indeed the definition of what fine art might be in photography isn't even settled definitively. It is, on one level, peoples' bread and butter. But not all fine art photographers are fine art artists making a living. Most, I suspect, are on the amateur level – which doesn't make them averse to making money from their photography, just means it's not a regular source of income. Essentially "Fine art photography is photography created in accordance with the vision of the artist as photographer", which tells us next to nothing because it doesn't include much and really doesn't exclude anything apart from the implication that if you are not an "Artist" you cannot be a fine art photographer.
That Wikipedia definition does try and make such a deliniation, but even so the misses the potential irony (neigh sarcasm) behind Picasso's statement that "I have discovered photography. Now I can kill myself. I have nothing else to learn", but does give room to John Steinbeck's comment on Robert Capa "… That the camera need not be a cold mechanical device. Like the pen, it is as good as the man who uses it. It can be the extension of mind and heart…" The whole "Is photography art?"debate is endless and, frankly, sterile. It will never be conclusively settled and is as much about fashion as it about metaphysical discussions of meaning and being. Maybe it's all what the Journalist Fyfe Robertson labelled Phart, but I think that rather misses the point.
Exclusivity certainly plays a part in the discussion. Certainly it is not all of it. Vision, idea, technique, a body if work all have their place and frequently find their way into this blog and our Thursday evenings and hopefully seep into our practice. As illustrated last week this doesn't have to be a long practice but mulling it over, working the idea into a concept, finding the materials it needs, getting everything together then executing the shot can be the fruit of days, weeks, months, years. Doesn't make it any better or worse to look at, but the effect on the photographer as the centre of this whirl does make it something more than the recording of a play of light on a subject.
Above all it is an attitude, a desire and a great deal of persistence that makes an artist, regardless of medium. It doesn't have to be on a grand scale, especially when practising, and it doesn't have to be to please anyone else but ourselves, but I suppose most of us take photographs to show others. Over time though we develop our own photographic fingerprint, but standing in the same place Ansel Adams stood and point our camera at the same vista as Ansel Adams pointed his at at the same time of day as Ansel Adams did at the same time of year as Ansel Adams did does not mean we get the same picture that Ansel Adams got, much less make us Ansel Adams. All we do get is the same thing every other photographer got doing the same, at best a downscale Ansel Adams look a like picture. It is instructive to do what the masters of the medium did and do, but is of little value if we cannot make those images we make our own. Afterall access to the original completed file or negative means we can run copies faithful to the original ad infinitum.
Which is one of the arguments that some people propose to strip photography of the idea that it might be art. Art is an artefact, it is made, it is up to us to make up our own minds what we consider art or otherwise.
13th April 2017 – Underwater
It has long been held as true that we know more about space than we do about our oceans. Quite possibly true, though I don't know how you measure it, what I do know is that club member Julie Kaye's presentation on underwater photography went down, if you will forgive the unintentional pun, very well. Julie brought her equipment as well as prints of her results and took us through the mechanics, the necessities of adapting the human body and her camera equipment to the realms where no human is naturally equipped but for the very briefest of visits.
The equipment needs are not merely image critical, they are life supporting and diving is a dangerous sport if the basics are not attended to. The conditions under which you are shooting are a challenge too and this is one of the more difficult areas of photography to master. For those of us brought up on the Undersea World of Jacques Cousteau the mysteries of the oceans were a childhood staple.
Possibly most associated by most as branch of travel photography, the underwater milieu goes back to the end of the Nineteenth Century, the first underwater camera and lighting rig was invented by another Frenchman, Louis Marie Auguste Boutan in 1893, when certainly photographs would have been taken but the oldest extant photo of a diver, a selfie by Boutan is dated to 1899 (and apparently damned near killed him through Nitrogen narcosis in the process). The gap is accounted for by Boutan's work on a lighting solution, a highly explosive mix of oxygen in a barrel and magnesium powder to provide a flash held in a glass container triggered by an electrical current. Remember that film (read glass plate) speed was very low at these times with normal photographs being taken with what we would consider long exposures.
Prior to Boutan, the first person to take photographs whilst submerged, there had been underwater photographs but these had been obtained by using a camera in an almost-waterproof housing lowered on a tripod, was William Thompson, who took them in Dorset in 1856. Unfortunately the glass plates don't seem to have survived.
Colour came along in 1926, National Geographic staff photographer Charles Martin and naturalist Dr William Longley taking a picture of a Hog Fish in the Gulf of New Mexico for that august journal. Following on in Boutan's tradition they still executed the image with pounds of explosive magnesium flash powder. The difference was that they sensibly left it floating on the surface in a raft rather than build a submersible flash unit as Boutan had.
Cousteau remains the most famous pioneer though, operating from his famous boat the RV Calypso, which came to near sticky end in Singapore in 1997 but on which restoration work began last year (after a 20 year story worthy of a soap opera), he developed not only Scuba gear but the underwater camera as well. The Calypso, before coming in to Cousteau's hands, was built as a Minesweeper for the Royal Navy and served as such from 1943 to 1949, then as a ferry in Malta for 4 months before being bought by Thomas Loel Guinness MP and leased by him to Cousteau for one French Franc a year on grounds of anonymity for Loel Guiness. There were, at the time, around a thousand Francs to the pound, so bit of a bargain. For those of us brought up on the TV show (1968-1976 and endless repeats) the Calypso was as much of the show as Cousteau.
Cousteau wasn't just an explorer (naturalist, conservationist, etc etc), he was an inventor too. He conceived the idea, which was designed by Jean de Wouters, of an underwater camera which was called, wait for it, the Calypso. It came with an f3.5 35mm lens, with 45mm and 28mm optional lenses and a shutter speed of 1/30th to 1/1000th of a second shutter, which was redesigned to a 1/15th to 1/500th of a second range which was the one carried on to the Nikonos, licensed and built by Nikon, through three variants and which lasted in production until from 1963 to 2001. Basically it was killed off by digital but it is still to be found second hand.
Underwater photography is also a sport, not big here, admittedly, under the auspices of CMAS. The World Championships run thus: Basically at least four 90 minute dives (including decompression time) are undertaken and the first 100 images from the relevant memory card are downloaded and then the competitor selects which images go forward to (anonymous) judging. Then it gets complicated: " During the last day of the competition, the jury will review all submitted images to rank these within the photographic categories described in the Specific Rules. An individual classification will also be compiled by allotting scores to the top ten images in each photographic category using a fibonacci sequence. The names of top ten competitors in the photographic categories and in the individual classification will be publicly announced." Not so catchy, maybe.
There is a wider range of photographic equipment and accessories available to the modern diver, of course, specialist housing, lighting (non explosive), but all at a price and a half. It has to be precision engineered of course, able to withstand pressure greater than found at sea level and whereas it is popular with people on holiday (who can buy pouches and boxes for their cameras for shallow depths if their camera isn't already waterproof) who go snorkelling, if you are serious and a scuba diver and a regular photographer, then the outlay garners the returns.
So a big club thank you to Julie for an interesting and unusual evening.
NB: The AGM has been postponed for a couple of weeks, our next session is table top photography so bring cameras, tripods and something small to photograph.
3rd March 2016 – David Jones: Documentary Photography.
Club member David Jones was our speaker last Thursday, taking us through his fascination with all forms of documentary photography, one that stretches back to the 1970's. Using mainly black and white, but also some colour, David has covered both film and digital and he was not alone when he spoke of the fascination of seeing a print appear in the developing bath. Things have moved on and certainly post production is much cleaner and easier than when using film. Whether that makes the final image any better though is a matter of opinion.
Documentary photography is pretty broad term. It is joined at the hip with notions of photojournalism though is not just the preserve of the professional photographer. To some extent photography is, by and large, documentary in its essence in that it is, by and large a document of record of an event. If you stretch the definition far enough. Is street photography documentary? Is environmental? The main difference, or at least a signal difference is the amount of planning and purpose behind a shot. The documentary has a particular theme, is part of a sequence or series. There is less structure in street and the subject comes to the photographer rather than the photographer finding and interacting with the subject, sometimes over a protracted period. Street photography is all about being candid.
The literal definition of candid is truthful. Within street photography we look for the truth of the instant, possibly more accurately a truth in the instant. Henri Cartier-Bresson was the originator of the term the "Decisive Moment", when all the different elements in a scene gel together to make something greater, something truthful. The role of the photographer is … well, to be more precise, the role of the photographer isn't. It isn't to interact, it isn't to interfere, it isn't to order. It is to read the moment and capture the truth of it at the very point where it is at the height of being one thing and the very instant, the split second, before it lapses completely, irrevocably, back into the ordinary. It is the moment of clarity, essentially suggestive and very human, very fleeting.
David showed us some examples of contact sheets to put the whole idea into some context. The final print is just that, it is the process of selection, of exclusion of the ordinary in search of the extraordinary. Look at Cartier-Bresson's contact sheets, they tell the same story. It's hard work not magic. Cartier-Bresson was also known to study other photographers' contact sheets (whilst carefully curating his own) and it is still a brilliant way of getting to know how a photographer works, if little harder in these days of digital. The key to this sort of photography is to be open to your surroundings, be apart from the action rather than in the action, taking time to let situations develop and getting a good sense of human interaction and detachment.
These last two may seem contradictory, but are two sides of the same coin in two senses. Firstly there is the notion of the subject interacting with their environment and the photographer as detached observer. This is pretty much read. The documenter shall not affect the outcome, because then you are documenting the interaction with the photographer, a different story. The second is about what the subject is interpreted as doing interacting with other parts and or actors in the scene, or being aloof, distracted or somehow extracted from it whilst still being a part of it – and unaffected by the photographers presence.
So far so (relatively) purist and, it has to be said, theoretical. Does it matter? Yes and yes and maybe and no (like the Mayor of London, "My policy on cake is pro having it and pro eating it"). Yes because it defines a genre (documentary) that is distinct through its truthfulness and naturalism which speaks to integrity. Yes because by identifying with it we borrow on that pool of integrity. Maybe because as a genre it is a start in exploring and building our identity as photographers. No if the image is the thing and anonymity is the photographer's aim. It takes practice.
Environmental photography, more specifically environmental portrait photography, is about contextualising the subject in their world. It defines, personalises, the subject through surroundings that are familiar to them. David showed us some examples, mostly deceptively simple, but drawing their power from that (some more by club member Simon Caplan). The subject is more aware of the photographer as a rule than in street photography. This doesn't detract from the value of the document because what we are trying to achieve is a statement of the individual defined by the environment they feel most relaxed in. To some extent they are showing that off for the photographer, so their known presence adds to the overall effect. The trade, the craft, the politics of the situation all combine to make a statement, much as the photographer is doing. Permission is a far bigger thing in environmental portraiture, in that, by and large, it is harder to do surreptitiously and often is used by business for marketing purposes anyway. It can be commissioned by the individual, by magazines, by organisations as well as proposed by the photographer.
So why shouldn't we give it a go? Expectation can be a killer of projects and images, fear of failure or frustration at not getting the results are very real. It often comes from lack of technique or an uncritical eye and the obtainable doesn't seem good enough. As mentioned above, the contact sheet is a good way of developing that critical eye and even if not a single one is a keeper (see last week's blog) working out why is a huge development tool. Thinking about what makes other peoples pictures work or fail for you is a good start. We will return to this later in the year, but for a short version take an image as an example and have a conversation with yourself about what strikes you about it, how you might frame it differently and where does the light come from? Do this out loud on a crowded bus and I guarantee you will end up with a seat to yourself.
So a big thank you to David Jones for an interesting and thought provoking evening.
Three way club battle at Portishead. Be there for 7pm, starts 7:30 prompt.
Portishead Camera Club, Redcliffe Bay Hall, Newhaven Road, Portishead. BS20 8LH
12th March 2015 – On Asking Reflex.
We are all photographers together but that doesn't mean that we all have it sorted and that we cannot learn from each other. Last meeting we ran our inaugural "Ask Reflex" evening whereby members submitted questions over the previous few weeks and we took it in turns to try and answer those queries with the support of the audience. All in all it went pretty well.
Gerry Painter did a fine job of coordinating questions and answers for the last evening's event, and a big club thank you to him for his sterling efforts and to Dan Ellis for putting the questions up on Facebook. Gerry also took on the bulk of the answers himself with his usual diligence and was aided by Steve Hallam and Ian Gearing. We may not have had time to get through all of the questions but the bulk of those submitted were answered as well as some supplementary questions and observations from members who were making up the audience.
I have set out below a rough outline of the evenings questions and answers, where this has been practical, with links where appropriate and sources where quoted. Again my thanks to Gerry for help getting this into the blog. I hope you find it useful and as stimulating as I did. There are a couple of extras in there as well that were victims of time pressure.
The questions
These were submitted over a couple of weeks by members and covered a wide range of topics. The value of this, and anyone who has run a development day or attended one will probably attest, is that the questions are actual, involved and real as opposed to what someone thinks members/readers need to know. The questions were, thereby, entirely authentic. It also reflects the strength of the club that such a forum can be run without becoming bogged down in people's opinions. That is not to say that people don't have them or that they are not strongly cleaved to, but the ideas exchange was positive and that plays to the clubs strengths.
Gerry split the questions into three categories: Camera, Software and The Photographer and we shall snapshot these categories in the rest of this week's blog.
First up were questions to do with Depth of Field and that almost Sci-Fi sounding of objects the Hyperfocal distance. Both these terms are essentially about the distance from the lens that renders an object with suitable sharpness, best thought of as a "zone" and will vary according to the focal length of the lens, the aperture that is selected and the size of the sensor that it is being recorded on. This zone of in focus detail is deeper on small sensors, it is deeper on wide angle lenses and increases as the aperture gets smaller.
In layman's terms the hyperfocal distance is the distance set on the lens to give a zone back from the horizon that is in focus to a minimum distance from the lens. The hyperfocal distance is a midpoint in this zone. Its especially useful for landscapers. Again it is relative to sensor crop, focal length and aperture. For instance, A 50mm "Standard" lens on a full frame (35mm) sensor at f11 focused at 9.3 metres would have a zone in focus, a depth of field, from 4.61 metres to a theoretical infinity. Same settings on 1.5 factor crop (APSC) sensor found in say a Nikon D3300, would give you a depth of focus from 5.58 metres you 37.86 metres(5.71 to 24.98 metres on a Canon 1.6 crop). Now this comes with a big health warning. Don't get all hung up on the infinity thing. The actual hyperfocal length on a full frame 50mm lens set at f11 is 9.09 metres and the furthest in focus 1.75 kilometres. Now given the perspective that a 50mm renders the background is going to look relatively sharp a good deal less than one and three quarter kilometres away, depending on how big it is. Gerry's example of the mountain at the end of the road was done with an 18mm lens on a 1.5 crop sensor (think of crop in the same term as when you crop a picture, what it is is a 1.5 time smaller sensor in surface area than a full frame 35mm sensor, which is really 36mm!) set at f11 and roughly a metre and a half away (5 feet). The hyperfocal distance of an 18mm lens is 1.8meters. If you have a smart phone get something like Photo Tools which is a free app and calculates this and a whole lot else for you. For a visual explanation of this check this out.
What is a Mirror-less camera?
OK, yes it is one without a mirror. The mirror is what lets you see in your viewfinder what your lens is focussing on. A mirror-less camera does away with this making it mechanically simpler. You see what the sensor is seeing so you have the WYSISYG advantage (what you see is what you get). This makes the application of effects in camera easier because you see the exact outcome in your viewfinder as well as on your rear screen. They tend to be smaller. There are some drawbacks. Mirror-less camera like the Sony Alpha series, the Fujifilm X's and so on (but there are exceptions), tend to show noise a stop or so lower than equivalent DSLR's and battery life is shorter because you are powering two sensors/screens, there may be a little motion blur in the view finder (I profess I use one and frankly all the objections that I have been told people have with them don't really add up to whole hill of beans for me). The difference in 7 seconds is explained here, though you might want to watch it a few times.
What changes do you make to your camera to make the background dark when the camera gives a lighter one?
There are a number of possible answers to this, but looking at this as a question of exposure compensation it is pretty well explained here (this is not a plug for his book, I haven't read it). Running this with the next question,
How would you take a picture of a bird such as a swan without losing detail but not under expose the rest of the image,
you should also take the old adage that you should expose for the highlights and print for the shadows and in a difficult situation like this one shooting in RAW is definitely prudent because of the greater latitude in the format over JPEG. Essentially at the very extremes of the exposure graph (histogram) details are lost to absolute black and absolute white, more visually in the case of the whites and, I am led to believe, over a wider spectrum. Digital cameras simply assign more resources to exposing lighter elements in images than the darker ones, as explained here. It also helps if you know how to read a histogram. Shooting to the right is basically about this. Shoot for the highlights in RAW and adjust in post production.
How does White Balance affect images and how do I decide which to use?
Bright and sunny weather has a different colour temperature than say the light on a cloudy day. Fluorescent lights have different colour temperatures to say candle light or tungsten. These colour temperatures are measured in degrees Kelvin. Your camera's idea of what white is, is actually 18% grey. These two factors affect the overall colour of your image. Explained here. Not sure what the colour of the light on your subject? There's an app for that (Colour Temp Meter, free on Android) or practice with the adjustments in your camera menus.
Moving on to the software section of the evening:
What ways can I "Dodge" and "Burn" an image in editing software?
The terms come from the dark room where these techniques, dodging a shadow over a too dark area, being sure to keep the tool, or your hands whatever you are using to dodge (or burn) moving so you feather the edge of the effect and lighten the area in the final result. Burning is the opposite where more light is allowed onto one area than the rest of the image to make it relatively darker. This is one thing that digital has made simpler. Using the dodge and burn brushes are the most straight forward ways of doing things, but you still have to be careful not to overdo the effect. Most digital editing software that offers you these tools will allow you to exercise the effect over the shadows, highlights and mid-tones. Essentially the same methods apply, that is the tools work in the same way. Adobe say you can do it this way as shown here. In Gimp, which we will come to presently, the Q&D version here and a more detailed explanation here is backed up by a text version in the online help.
Please explain layers – Photoshop Elements – (not Lightroom).
Layers are, essentially, the building blocks of those photo editing software packages that provide for them. They are a good thing because they do not alter the original image (you will see the word "destroy" often used, which is nonsense as you might end up with a horrible mess you can't undo – avoided by working on a copy – but you will still have an image to consign to the recycle bin. It may be beyond taste but it won't be beyond use, unless you try very , very hard, usually with the blending tool and the save button). They give you a wide degree of control and you can blend, change opacity, and generally faff, dither and prevaricate to your heart's content. They are most effectively used when you know the look or effect you are after. A general guide to photoshop can be found here (there are lots to be found on You Tube). As with dodging and burning they essentially work the same way where ever they are found, just the switches and toggles tend to be slightly different (to avoid "Look and Feel" law suits from Adobe). As the question specifically mentioned Elements here are two guides I found:
Layers in Photoshop Elements 13 Part 1 Part 2
Blending images with layer masks in Photoshop elements
How do you take a step back in Camera Raw e.g. if you've made a mistake?
Ctrl Z is the simple answer on Windows operating systems. There will also be undo on the Edit menu of most programmes. The defining factor is how many steps are stored for you to undo. Photo editing and graphics software tend to make a feature of having more. Ctrl Y lets you reinstate what you have just rolled back. Same on the Mac but Ctrl key is the Command key only far more expensive.
Which are the best FREE image editing programs?
The Daddy of free editing suites is GIMP, currently at 2.10 (the even numbers represent stable editions and the odd numbers like 2.09 beta versions). It has been around since 1996, is open source and for the money, excellent. It is a programme, i.e. it is downloaded to your computer rather than run on line through a browser. It's not particularly resource intensive but it is pretty extensive. It does not have the slickness of the Adobe suite in operation, and it is always playing catch up and always will be. However, it is supported by an extensive community and once you get to grips with it, easy to use. Will accept JPEG RAW PNG GIF TIFF and so on
Pixlr comes as a free or a paid for edition, but at $14.99 per annum it is unlikely to break the bank.. There are desktop and browser editions. It is easy to use and comes with a range of useful tools. For quick fixes it is pretty sound and has a fairly extensive set of effects and layers that can be utilised. Works with JPEGS.
Picasa from Google has a couple of useful features, actually more than a few. It has colour correction and lighting options and a selection of filters, some of which are very useful. It will load and edit other formats but it saves in JPEG only.
There are lot of others (see here and here) and there is nothing to say that you have to pick just one. What does become important is that you sort out your workflow. I use Gimp, Picasa and Neet on a regular basis. The workflow is important, the more technical stuff is done in Gimp and any finishing desired in Picasa and Neat (noise reduction). Also working on copies is no bad idea. Doubly so if the original is in RAW, which I convert to TIFF if switching between that and certain other programmes. Gerry has made a more extensive and useful guide which can be accessed from this link >>> RCC_free_editing_software
Time was against us so we moved to the photographer section and the last three questions were rolled together as they presented a logical conclusion:
How do you motivate yourself to go out and take pictures, or, what motivates you to take pictures?
A slight liberty taken with the question but I think it makes it more accessible to more people. See this PDF for the PowerPoint slides >>> Motivation & The Photographer
What types/range of lenses would you recommend that a general photographer should have?
From basics, you don't need a lens at all, you need a beer can with a small hole in it and a piece of 7 x 5 photographic paper for the light to focus on. This could be added to the motivation list under get yourself a new piece of kit to work with.
Having thus caused a crash in the share prices of Cosina, Nikon and Canon through such heresy, I am going to talk a little about lenses (and thereby at least partially answer the question).
THE most important item in the relationship between the sensor and the subject is the lens. It will dictate how close or far away you are from your subjects personal space (where animate) and from the object being photographed (where inanimate). Their weight can effect your ability (in the case of the $2m 132Lb f5.6 Leica 1600mm zoom, hyperfocal distance a tad under 28km, probably several you's) to move around. Then this is the lens that has its' own 4 x 4 carry case.
The big difference for most of us is the zoom lens v the prime lens. Zoom lens are variable focal lengths, generally they are heavier than any equivalent fixed prime, and slower, that is to say the maximum aperture is generally smaller than for a prime. The big advantage of a zoom lens is that you have a whole kit bag full of prime lenses in one. Theoretically infinite, You have a variable field of view to go with the zoom. For example with an 18-55mm "kit lens" on a 1.5 crop APSC sensor has a 63 degree field of view at 18mm and 24 degrees at 55mm and everything in between. The simplest difference in use can be boiled down to the fact that with a zoom lens it's the focal length that moves to get you closer or wider to the subject, with a fixed lens it's you that has to move.
With wide angle lenses, those of 35mm focal length or less (it's all relative to sensor size but stick with this definition and you will save yourself a headache), there is likely to be more going on in the field of view, so it pays to be aware of what is going on at the edges of the frame. Perspective is lengthened, there is more in view but it will also be relatively "smaller". The obvious reason to mount a wider angle lens is to "get more in". The better reason for mounting wide angle lens is to get in closer.
The "standard" lens, around 50mm, is the closest to the perspective of the human eye (apparently calculated at 42mm on a full frame, 35mm sensor). A telephoto lens start at around 85mm, often referred to as a portrait (as is a 105mm). This is to do with perspective. The snoopers lens of choice, it can be sometimes necessary to overcome physical barriers, to bring the subject optically if not physically closer. The down side is that it can give you the air of a stalker. A compression of perspective is the signature of the telephoto lens, the impression of foreshortening the foreground and background. There is one other common sort of lens to be found, the macro (close up). There are two sorts of macro lenses, those the product of the engineering department and capable of 1:1 reproduction and those the product of the marketing department which get to a fraction of this.
Regardless of which focal length we are talking about, composition is everything. The lens functions as the agent of composition. The photographer selects using the lens. In a general sense a moderate wide to a moderate telephoto zoom is ideal place to start. The kit lens is as good a place to start as any. If you have a particular need such as space restrictions (mine has to fit on a motorcycle) then maybe a super zoom, but you need to be aware of the pros and cons and weigh them carefully.
What should I be thinking about to make my holiday snaps into more interesting images?
In four words – all of the above. If you are still looking for ideas then see this pdf Gerry put together >>> RCC Becoming a better photographer
In honour of St Patrick >>> RCC_notice_Ian…
12th February 2015 – On The Creative Round of the Reflex Open Competition
David Southwell ARPS, AFIAP was our judge for the creative round of the ROC. A welcome return. We have had some very good feedback from the judges this year but David's is particularly good and those members I talked to seemed of the same opinion. My starting point on feedback, and this is particular, if not peculiar, to me and I mean in general, is the point from which I can disagree and why. All this is very contrary of me I know, but I feel that the argument should stand or fall on its own merits and for that it should be clearly expressed so that I can articulate why. Of course we all have our likes and dislikes and fashions come and fashions go, but light still travels in straight lines and all the other immutable laws of physics that make up the science still apply. There are constants. We have talked before about frameworks for making judgements and the importance of consistency. His starting point that "Photography is an art form served by science" was applied throughout and his focus on the necessary technicalities of the image capture and production supporting the image as we see it was the backbone of his judging.
And what a set he had to judge. The print section was the strongest the club has presented since I have been a member and certainly other, more longstanding, club members said it had been a long while since such a strong panel had been seen. I think we have a stronger basis for inter club battles in the print section. The recent decline in the popularity of print within the club seems to have been reversed, "A good thing". Some more please! Also the number of digital entries was up on last year, I feel. So an increase in both quality and quantity, print and digital, long may it continue.
Before we proceed to the results, may I remind members of the following competition rules:
Maximum width of an image 1400 pixels.
Maximum height of an image 1050 pixels.
Images should be resized so that they fall within BOTH of the above dimensions. It doesn't matter if the image falls below the these dimensions on either width or height or both.
You may have your entry withdrawn if either of these dimensions is exceeded.
Colour space must be sRGB. (Lightroom and Photoshop)
This is important, especially in external competitions but also we need to implement within the club to make sure we avoid any accidents and end up having photos withdrawn from battles and other competitions.
If unsure how to do any of these things then leave a message here, or on the club Facebook page or ask at the next meeting. Someone, infact several someones present will know how to do it and I haven't met a member yet who hasn't been willing to help with this sort of thing. Not knowing how doesn't matter it can be put right. Not doing does matter if your image is withdrawn.
Tears – Julia Simone
"I am In The Pub" – Ian Coombs
Highly Commended
"Urban Fairy" – Julia Simone
"Geisha" – Eddie Deponeo
"Let's Pray" Eddie Deponeo
"Bulb in Bloom" – Jo Gilbert
"The Competition Judge" – Ian Coombs
Digital Print
"Haunted" – Ian Coombs
Highly Commended
"Baja N Rap " – Julia Kaye
"Eye at the Key Hole" – Simon Caplan
"The Ghostly Tree" – Simon Caplan
"Talons" – Mark O'Grady
Congratulations to all these Laureates and well done everybody for a particularly strong set.
From Mr Gerry Painter, summaries of the next couple of Events at Chez Reflex. These are participative SO PLEASE READ AND TAKE PART. The club only works when you do.
19th February: A NEW club feature – "Your Picture Your Way" on Landscape and Street/Candid details here – RCC EVENTS Feb_19_15 YPYW Landscape_Candid
26th February: PRACTICAL: – for our entry into the Kingswood Salver. Details here 26th Feb Practical Kingswood Salver (1)
F8 and Be There.
29th January 2015 – On Landscapes
Member Adrian Cooke took us through some of his favourite landscape pictures last meeting and his presentation was well received by the members. We are now regularly fielding 40+ at each meeting and that has something, a lot, actually, to do with the programme. In the words of Butler and Yeats, "A good thing". Active members mean a healthy club.
Adrian shoots a lot of landscape photography, he has a lot of it on his door step, nonetheless the fact that he showed us a wide variation of images of the same landscapes just goes to prove that no two images are ever the same, even when the subject is identical (Maybe). Adrian showed some scanned slide film images among the purely digital images and the colours were quite different in comparison. Now there are a whole lot of technical issues in scanning slides to digital, and the image sensor may not have the same dynamic range as the (negative) film, and just how much information you can get on film as opposed to a modern sensor, the way that each respective medium records light, standardisation of results, and a swathe of other pros and cons constantly rumble around like a number of other technical questions that seem to get in the way of people making pictures. None of those, and all of them, are my point. It is refreshing to sit back and rediscover some of the features that many people now can't appreciate because they have never been exposed to the processes nor the outcomes. Sometimes I suspect that the memory of those images is superior to their physical reality. One day I will go for a rummage in the attic to find out. These technicalities were hurdles and barriers to entry, the number of photographs taken was exponentially smaller, but the role of mastery has not changed. Just the size, number and relative cost of the spanners it takes to make even a poor image.
Not that Adrian's images suffered in the quality category, familiarity and technique were in evidence aplenty. Perhaps the most consistent point to come across was the importance of the focal point. There are a number of ways to promote the (usually single) focal point. With landscapes it is generally held that greater depth of field is desirable but, nonetheless the question still remains what is the focal point and where in the frame am I going to put it. Yep we are back to the thirds, fifths, sevenths and "Golden ratio" , so I will move on. The f-stop isn't the only way of highlighting the focal point. Careful use of, or observation of, contrast and shapes will also do it, as, of course making it the largest thing in the picture (OK, obvious, but worth mentioning). It also helps with not providing too many points for the eye to rest on, and thereby confusing things, and that is less likely to happen if there are fewer places to fill them with.
The eyes journey around the image is important. The photographer creates that journey and the elements within it make up the story. As was stated at the judging of the last round of the ROC, for a photograph to really make an impact it really should be telling one story and one story only. As Adrian implied, these images don't just happen they are created. Another feature of Adrian's photographs were the role that lines play in the journey we make around each image through the use of horizontal, vertical, diagonal and converging lines in making patterns to give impressions of depth and scale or leading to the focal point.
Timing is also important. Adrian related how he tended to shoot towards sunset, though there were a good few early mornings represented in his presentation. This is the period of the "Golden Hour", where the light has a different quality to that of the rest of the day and for which The Photographers Ephemaris is a great tool. Almost by implication this brings in the idea of longer exposures, which have effects of their own, pretty much demand the use of a tripod, for lower ISO settings tend to give better results with less noise but increase the problems surrounding camera shake. Almost counter intuitively this allows for the capture in motion, especially of water and clouds. Adrian discussed using ND filters to cut down the light and ND grads to help even out the exposure (back to dynamic range again – the range of lighting that a sensor or film can represent. Of course it helps when you don't confuse your Infra Red Filter for your big stopper ND filter as I did on Sunday (apologies to Dan Ellis who I leant it to) but then there is something there about labelling things. Or in this case not loosing your filters. Maybe I should take note. Also Dan discussed the use of a polarising filter (and when to use one) and certainly this can have a quite dramatic effect on skies and cut down on reflections when the light comes in from the side. And of course not just limited to landscape.
Adrian's presentation provided a thoughtful and thought provoking refresher on landscape photography, and the club thanks him for his time and effort. Next meeting we have a speaker, who will talk about editing and take us through the process using some pictures from the club. Marko Nurminem has worked at the "Very high end" in editing images, including for previous speaker Damien Lovegrove. See the link RCC EVENTS Feb_05_15 Marko Nurminen_No_Images for more information.
A reminder from Dan Ellis about the Ask The Club session. Get your questions in by 12th February, either via FB or the forms you can get from the table where the register is kept on club nights.
January 8th 2015 – On Woodland Photoshoot and Mounting Prints
Aaaaand we're back. A happy New Year to you all. Two things to write about from the club this week. The first was a model shoot at Leigh Woods with Paul Walker and Kelly Wolf Rogers, (and Allison's dogs Otis and Basil) Sunday last (4th Jan) and the second was the session on club night on the process of mounting photographs.
If nothing else, then the great outdoors in January offers inspiration, even if that inspiration is to keep moving to keep warm! In fact the weather was relatively good to the two models and dozen or so club photographers who spent an interesting and fruitful day in which the rain – if not the mud – held off. Overcast meant a fairly flat light, but that is a more of a problem when taking landscapes than details in portraiture, though keeping the grey sky out of shot (unless dramatic – or plain grey is the desired effect) certainly applies and lighting from the side and shooting when the sun is low are both possibilities, of course. What can't be escaped is that the light is both cooler and more diffuse. The former can be compensated for via the white balance control on the camera and the tonality doesn't have to be "natural" – that's an artistic decision. Of course the ideas of "warm" and "cool" are psychological responses, they have nothing to do with the physics of light, but there is no doubt that the feel of a photograph is effected by its white balance.
Diffuse light presents different challenges. There is no doubt that a controlled, soft light can be a tremendous influence in the composition and interpretation of an image, as can a harsh direct light. The key word is controlled. The chief problem, if problem it is, is the lack of shadow. Light from an undirected source (the sun) is bouncing about all over the place. On the other hand it tends to be a fairly even light, background and foreground, unmodified, tend to be bathed in the same light. This can lead to a lack of separation between foreground and background. This, in itself, suggests that there may be a fairly straightforward option available. Get in closer and open the aperture, either or both depending on the focal length of lens available and the desired composition. A 50mm prime at f5.6 close in (say 1.5 meters) gives the same depth of field as a 100mm at twice the distance (3 meters) or a 200mm from four times the distance (with an APS-C 1.5 crop censor the depth of field would be 0.16 meters from nearest to furthest and F5.6 is a reasonable-to-assume achievable aperture on lenses covering those focal lengths). You would capture an area 71 cm high by 46 cm wide in portrait mode, i.e. with the camera rotated 90 degrees so the controls are on the side rather than on the top (as it would be in landscape) and keeping the frame tight would let you concentrate on the details.
Before zoom lenses it was the photographer who moved, see last blog's Cartier-Bresson quote, something we should keep in mind. It also makes communication with your model easier if you are not having to phone in your requests for a tilt of the head or a sweep of the hair. More practically the logistics of moving angle are quickly and precisely in the hands of the photographer, leaving the fine detail adjustment, a tilt of the head, a slight angling of the body, a sweep of the hair and so on, with the model.
Flash, on or off the camera and a reflector, you know the one you didn't leave on the settee (mea culpa), can be a great boon in getting some of the light contrast back into the scene. The flash on the camera can be limited, but DSLR/SLT cameras mostly have ways of altering the power of the flash. Failing that you can diffuse the light using material in front of the on camera light source, being careful that it doesn't give you an unwanted colour cast. A Speedlight or similar is more flexible, just remember that the needs of curtain synchronisation limit the shutter speeds you have available to you. A reflector, especially a 5-in-1, can be a cheap and easy (if you have someone to hold it for you whilst you take the photograph) way of concentrating the available light onto your subject.
Using Camera RAW and post processing is another way of giving yourself options. RAW leaves all the details in whereas JPEG makes a certain amount of processing options away by making decisions about light levels etc at the image processing stage i.e. the click. Contrast, the available dynamic range that can be manipulated using RAW, is greater than in JPEG and for these reasons many people choose to shoot in RAW as default. There are interminable arguments about this, as you may have experienced and I have voiced my opinion before and regardless of format if you don't press the shutter the arguments are irrelevant and the shot is lost. Forever. There are options for editing in JPEG they just aren't as wide or flexible as in RAW. Or you can use black and white either to shoot in or post production. There are lots of options, either singly or in combination to try. So try them! There are also the creative styles that cameras, even basic ones, increasingly have built in, especially the ones where you can exhibit some fine control like saturation to experiment with too.
So your masterpiece has been captured, processed and printed and it's now ready to mount. Mounting itself can be something of an art and there are little preferences that people develop with practice. There are some choices to be made at a basic level. In terms of increasing ambition we have to decide whether our pictures are to be Card mounted (as we have to do for entering prints in the club competitions, indeed for any print competition), foam mounted or canvas mounted, aka Gallery Wraps. We can even use wood (as per canvas but with some sort of clear varnish to finish) but I prefer the more recycled approach, well we are living in the European Green Capital for 2015, after all. Card mounting is the more traditional way. For club competitions prints must be mounted on card exactly 50cms by 40cms AND a digital copy following the 1400 : 1050 width/height convention must be submitted too. Rules are to be found here. There is no doubt that the mounts have their own contribution to the aesthetic and if anyone tells you that your print has "A nice mount" and leaves it at that they are probably leaving out "Shame about the picture". Ignore them. That said the mount must complement the image not compete with it, so the most effective colours are muted and white (in various shades) and black are the most frequently found – for a reason. They are not, however the only option.
The link for Bristol Framing Supplies is http://www.bristolframingsupplies.co.uk/
Wednesday 14th 19:30
Club Battle: Bristol Photographic Society
Where: Basement, 12 West Mall, Clifton, Bristol, BS8 4BH (Downstairs Door)
Description: The return match for our club battle against Bristol Photographic. This time its at their venue. Turn up and support us.
From Myk Garton:
On Sunday 1st March we are holding another Woodland Photography Day.
We'll be spending a day photographing models (both male and female) in woodland and other settings at Blaise Castle Estate.
We'll meet up at 9:30am at the main car park and start shooting by 10am. The plan is to use one location up until 12:30pm, stop for lunch and then shoot at another location until 4pm or later depending on conditions.
There will be a minimum of 2 models. one male and one female.
There will be a small charge of £10 to take part. We'll shoot for 5 hours minimum, so you'll be paying just £2 per hour. All money raised will be split between the models.
I'll be adding more info soon as well as mentioning it at club meetings. We'll work on a first come, first serve basis. If you are interested in coming along please reply below.
The date is Sunday 1st March.
Any questions, please ask Myk.
And from Eddie and Roger:
"Roger and I have volunteered (for our sins) to oversee the Reflex Camera Club entry to the WCPF Kingswood Salver Competition 2015.
The competition rules are as follows:-
Entry is five prints – colour, mono, or a mixture of both, and must be from five different photographers. Mounts to be 50cm x 40cm as per usual WCPF Rules. All elements of the work must be no more than 2 years old and not previously entered into this competition.
The ideal is that all of the images are good in their own right but must fit together as a panel of five.
Follow the links below to see examples from the 2014 competition.
Our target is to make up 3 panels of 5 with different themes and then pick the best of these to enter the competition.
To start the ball rolling we would like to ask club members to suggest themes based on what we could achieve as a club, we will then choose 3 subjects to target.
We are considering using our evening on the 26th February as a practical night when we would like to set up various still life studios (with a little help) and attempt to create a panel or two based on a theme of collectables. For this we would ask members to bring along items to photograph, more details on this to follow".


text: Please notify me when this item is back in stock.The Eight Immortals of Taoism are each hand-carved into the faux temperline blade and inlayed in brass. Fearsome dragon-shaped guard and pommel of fine cast brass. Fine redwood scabbard. 2.5 lbs. 28" blade. The silk covered gift box is extra. It can not be returned or exchanged.

subset: commoncrawl


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Earlier Event: April 30The Fleshtones @ Wild At Heart, Berlin GERMANY
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Q3Speech 0.2
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Author: Q3speech
Category: Games > Sports Games
Q3Speech is a small script, written in Perl, which filters out the output from the Quake 3 Arena console so you can redirect it to a text to speech (tts) program. This way you can hear the chat texts from other users through your speakers.
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This morning's key headlines from GenerationalDynamics.com
- Ethnic violence kills 21 in China's Xinjiang province
- Will Thursday be the day for a North Korean missile test?
- Syria's opposition scorns Obama over chemical weapons commitment
Ethnic violence kills 21 in China's Xinjiang province
Uighur folk dance in Xinjiang province in 2006 (Xinhua)
Major ethnic violence has returned to China's northwestern Xinjiangprovince for the first time since 2009. On Tuesday, 21 people werekilled in confrontations between police and Uighur residents ofKashgar, the country's westernmost city. Violence exploded in July2009 when over 1,000 people were injured in a Uighur riot thattargeted Han Chinese. That riot was triggered by the Han Chinesekilling of two Uighurs working in a toy factory in Guangdong province.(See "China's Xinjiang province is scene of violent anti-government protests")
The Muslim Uighurs, of Uzbek origin, have historically occupied theXinjiang region. However, the Chinese Communist Party (CCP) governmenthas been relocating Han Chinese into the Xinjiang region in order todilute the Uighur population. However, the Han Chinese havemarginalized the Uighurs, inflaming the situation. Few details areknown about the new violence, since China keeps very tight controlover all reporters who attempt cover the situation. LA Times and Xinhua
Will Thursday be the day for a North Korean missile test?
Well, here we go again. The North Koreans have continued to move moremissile launchers to their east coast, apparently in preparation for amissile test that the west will say is "unacceptable," though donothing else. The last best guess for when this missile test would bewas Monday, April 15, the birthday of North Korea's founder KimIl-sung. Well, nothing happened on April 15. So the new best guessis now, Thursday, April 25, the anniversary of a well-rememberedbattle with the Japanese. So, the new child dictator Kim Jong-uncontinues to keep the world guessing what he plans to do next, andapparently all we can do is wait to see when he makes his move.Global Post
Syria's opposition scorns Obama over chemical weapons commitment
Syria's opposition forces are expressing scorn at President BarackObama for appearing to back down from earlier statements that the useof chemical weapons in Syria would be a "red line" or a "game changer"that would trigger military intervention in Syria. There have beenreports from Israel, Britain and France of the use of chemical weaponsin Syria, but the obvious reluctance of the U.S. administration toinvolve itself militarily in Syria is forcing the administration tohedge and duck questions about whether it means anything it says. Thesame is true about North Korea threats. The problem is that theU.S. is losing credibility. Guardian (London) and Global Post
Permanent web link to this article
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text: Deck View: Keeper (Red Edition) Playing Cards Ivan Choe 8/13/2017 Deck View , ellusionist Edit Red. Lighthouse. Water. Conceived by Adam Wilber and illustrated by Oban Jones, the Red Edition Keepers are a follow-up to the original Blue Keepers released by Ellusionist early in 2016. Designed for the worker in mind, the new deep red colourway has been specifically chosen to invite trust, and go unnoticed by the audiences. As such, the deck features recognizable pips and faces of a standard deck. The Keeper Ace of Spades and the faces of the Jack and Queen of Clubs have been tweaked. The finish and design are similar to the originals but now marked. Available now from JP Playing Cards. Share on Facebook Share on Twitter Share on Google Plus RELATED POSTS


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Recommendations For The Handloom Industry
Statement from Ashoke Chatterjee,
Former Executive Director, National Institute of Design
Research Findings by Nesar Ahmed
Varanasi Weavers - Support and Regeneration
Support and Regeneration: Recommended Action Points by Craft Revival Trust
Brief Background on the Situation of the Varanasi Weavers
Large scale import/ dumping of Chinese copies of Benarasi Saris and fabric lengths at rock bottom prices.
Large scale copying and sales of Benarasi look-alike saris and fabric lengths in polyester yarn made by mills in Surat.
Shrinking market for high quality Benaras brocades
The situation on the ground
Only half of the one lakh strong weavers community has work. The rest are unemployed.
The average family income of those employed is now down to approximately Rs.2,500/pm which is less than half of their earlier earnings.
Others involved in secondary/associated occupations like the dyers and warpers are in a similar, if not worse, plight.
Reports of weavers committing suicide
Reports of weavers selling their blood to make ends meet.
While on the one hand China is dumping copies of Benarasi weaves - India is importing much needed, silk yarn from them. The weavers are largely dependent on this yarn for their weaving needs and cannot survive without this import.
Areas to be addressed
Humanitarian Assistance
Priority Action Recommended for Government
Activate the politicians especially in UP.
Activate UP State Emporium, Silk Board, KVIC, Handloom House, Central Cottage Industries, etc
Keep the Planning Commission updated and involved.
A large number of Central and State schemes initiated by the Government exist. These need to be studied, accessed and their implementation ensured.
The Cluster Development Scheme of the DC (Handloom) is new and as a very important thrust program it forms the umbrella scheme for the handloom sector where not only developmental issues but design and marketing are looked at. It must be ensured that this scheme is properly implemented in Banaras to impact on the weavers.
IPR, Trademark and Branding
Geographical Indicators (GI): There is urgent need for the GI to be obtained by the weavers in Varanasi in cooperation with the National Copyright Office and WIPO. This certification based on a set of criteria can be a strong dissuasive factor to outside imitators and internal importers. It has already been obtained by Mysore silk, Chanderi and Pochampally.
Devise a logo or trade mark, some unique identifying mechanism so that when you see that symbol you'll know you've bought the genuine article. These could then appear on every project/ product/communication exercise that this movement undertakes.
Protection of Cultural Heritage, Identity and Traditional Knowledge
Action Required
Work towards a Chair in Benaras Hindu University for master weavers thereby equalising their status with the mainstream
Confer D.Litt degrees on the great master weavers
Revive the �Meenakari� exhibition of the Poddar Foundation that showcased the pinnacle of Benaras brocade weaving and positioned it as one of India�s finest traditions.
Exhibitions and sales targeted at specific high end markets in the metro cities to reclaim Benarasi Brocades position.
Revitalise the status of Benaras weaves through talks and seminars
This needs to be upgraded as a degree program.
The number of reserved seats needs to be increased to 50%
More institutes with degree courses on weaving need to be set up.
Weavers and their children need to get reserved seats.
The program needs to be supplemented by adding new subjects to the curriculum.
Capacity Building for the Weaver
Marketing support and market information is of critical importance to weavers.
Quality control parameters information.
The weavers need assistance to gage national and international demands and trends.
Access to market research.
Access to information on international sizes and colour trends based on feedback from large international buying houses based in India. Ex. Best Seller, Marks and Spencers, etc.
Access to design inputs for product diversification.
Technology Upgradation
As at present the looms are made of a metal that reacts to heat, cold and moisture. The quality of the final product is uncertain. The cost of upgradation is Rs.10,000-12,000 per loom, this is a sum that the weavers can ill afford. Upgradation of existing jacquard looms will improve the weaving quality thereby competing favourably with international standards.
There are many problems in the existing product that loom improvement will help like missings; stroke marks; uneven picks; let up and take off motions are not available in the Varanasi Jacquard looms; Jacquard cards are not season proof; lifting weight of jacquard is heavy i.e. effects design efficiency; Jacquard cards are not in standard size so each jacquard has its own size, a card of one jacquard does not fit to another jacquard; there is no standardization; one 200 hook design cannot be fit on to the other 200 hook designs; Design visibility is at the reverse side of loom - It must be visible on the front side so that a weaver can see defects immediately.
Action and support is needed from the Weavers Service Centre.
A scheme to finance upgradation of looms is necessary
Availability of loans
Dyeing and finishing facilities
Inadequate dyeing and finishing facilities are leading to poor and substandard quality. Imported machines carry a 40% duty.
Action Required
Perhaps one can think of these machines as Cooperative Community property. Weavers could then pay for actual usage.
Raw Material Issues
Non availability of Indian yarn
Short supply of imported Chinese yarn
Poor quality of Chinese yarn imported
High price of Chinese yarn
High prices of Indian Silk yarn
Action Required
Indian sericulture farming needs to improve in the long term.
Stringent control/tests on the quality of yarn being imported.
Strengthening Database
Collect statistics on number of weavers in the cluster, and decline in employment over the past decade.
Hold public meetings with weavers to record their testimonies on problems faced by them.
Ascertain, through desk research and conversations with weavers, the causes for the decline of the handloom weaving cluster.
Review correctional measures taken by the government, if any.
Recommend potential interventions to increase market-led growth for the Varanasi Handloom cluster.
Protecting Craft Integrity
Promotion/ Marketing/ Public Education/Awareness
Contact film makers and TV serial producers to get their actors to consider wearing Handlooms. A valuable person would be Ekta Kapoor.
Revive techniques of natural dyes, eco-friendly processes and other similar aspects of value as practice to create high-end niche markets.
Need for consumer education on benchmarks of quality and linking handmade quality to self-esteem and national pride.
A series of articles/essays and write-ups in magazines and newspapers both regional and national.
Activating the News channels: CNN/IBN, NDTV, Aaj Tak to be tapped
Product, Design and Market Diversification and Development: Home and Export Markets
Involve Design Institutes and encourage young designers to work in conjunction with traditional makers.
As the demand for saris has reduced, weavers who can only weave saris need design help on product diversification for their survival.
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Geftinat 250mg tablets (Geftinib) are a highly recommended medicine for the prevention of small cell lung cancer. It is also used for the treatment of cancer which has spread to the other parts of the body. This drug efficiently inhibits the action of chemicals, which enlarge the growth of abnormal cancer cells in human body.
Geftinib 250mg is the core component of the drug Geftinat 250mg tablet. It is a tyrosine kinase inhibitor. It blocks the EGFR receptor by binding to the ATP binding site of the enzyme. Therefore the function of the EGFR is to make sure that the growth of malignant tumor is inhibited.
Take one tablet of Getinat 250mg (Geftinib) orally. Place the drug in a glass of water and stir for 15 minutes. After mixing, drink this mixture immediately. Do not keep the mixture for a long time because it will decrease the efficacy of the drug. Take this drug only with water. Do not take with other liquid.
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Store Geftinat 250mg tablets in air tight container at room temperature. Do not keep the drug in freeze. Keep the drug away from the reach of children.
The most common undesired effects produced while using Geftinat 250mg tablets (Geftinib) are: diarrohea, blurred vision, dry skin, itching, fever, loss of appetite, and acne.
©2015 Us Pharmacy 24. All rights reserved.


text:
I ended up buying this set during Sephora's Cyber Monday sale, since I wanted to get their Cyber Monday Mystery Bag that came with a purchase. The set has since sold out, but some retailers probably still have stock in-store and all of the components are still sold separately. The set contains:
- Almost Lipstick Black Honey 1g
- Superbalms Moisturizing Gloss Black Honey 7ml
- A different Enamel Black Honey 4ml
- Quickliner For Eyes Intense Black Honey 0.14g
The horizontal swatch at the top is actually Burt's Bees Tinted Lip Balm in Red Dahlia for comparison, while the others are the eyeliner, the lipstick swatched heavily, the lipstick swatched one pass, and the lip gloss.
Clinique Almost Lipstick in Black Honey
So yeah, you can see that there isn't too much of a difference in shade between the tinted lip balm and the "almost lipstick." I guess I was really hoping for much more pigmentation. To really get it to show up, you have to do multiple passes, and it's also not the most moisturizing, so why not just call it what it is – a non-moisturizing tinted balm? It's good for a more natural look, but even then, I'd rather use a more neutral opaque lipstick or a more moisturizing tinted lip balm. I do really like the packaging of the lipstick itself, though. The silver just makes it look so sleek, and I like how it's really thin.
Clinique SuperBalms Moisturizing Gloss Black Honey
Your standard lip gloss, nothing that really stood out to me. It looks and feels nice, just nothing special.
Clinique Quickliner For Eyes Intense Black Honey
This eyeliner is a nice shade, but it doesn't have really good staying power, so the "intense" power goes away quite quickly. Nothing special about this eyeliner, either.
In general, I thought the set was pretty standard and not anything special. (Skipped over the nail color, since I don't usually wear dark shades on the nails.) I was a bit disappointed by the "almost lipstick," since I thought it might be something a bit more unique in a good way, since it had been hyped up before. Anyways, I ended up returning this to Sephora, since I really don't see myself reaching for it much in the future, and the large lipstick (though nice-looking) doesn't fit into my makeup bag I usually care with me as conveniently.


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Dr. Kevin O'Sullivan New York Institute of Technology – NYIT USA
Dr. O'Sullivan is an Associate Professor of Management and Chair of the Department of Management, specializing in Organizational Dynamics and Knowledge Management with the School of Management at NYIT. He is the Lead Professor for Knowledge Management at NYIT. His specialties include Intellectual Capital Management, Systems Analysis and Design, International Organizational Development, Collaborative Systems and Knowledge Management. He has previously held other administrative posts at NYIT to include Campus Dean, Associate Dean and Director of Global Academic Programs. He earned his Doctorate in Engineering Management (Knowledge Management) and a Masters degree in Information Systems and Information Management from the George Washington University and a Post Graduate Diploma in Management from the University of Ulster in the UK. His research interests include Global Organizational Development and Organization, Information and Knowledge Security, Knowledge Management, and Intellectual Capital Management. He serves on the Editorial Board of four top level academic journals, the Journal of Information and Knowledge Management (JIKM), International Journal of the Knowledge and Systems Science, The International Journal of Knowledge Based Organizations and VINE: The Journal of Information and Knowledge Management Systems (VINE) as Associate Editor.
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You don't have to be Irish to feel lucky when you have Alcott HR as your PEO partner. Would you cross the street without looking both ways? How about taking a gamble on some questionable seafood for lunch? There are a lot of decisions you make every day that you wouldn't leave up to chance,.Read More
Love What You Do with Alcott HR
Let Alcott HR eliminate your distractions so you can get back to business, and get back to doing what you love! Chances are, you started your business because you had a passion for what you do. But somewhere along the way, things like running payroll, keeping up with the latest compliance requirements and negotiating employee.Read More
HR Considerations: U.S. vs Canada
Human Resources Considerations When Entering the U.S. for Canadian Businesses by John H. Bradley Vice President, WNY Division of Alcott HR Originally written for Invest Buffalo Niagara If you are a Canadian company looking to expand into the U.S. and you will have U.S. employees, it will be beneficial for you to know some of.Read More
IRS to Begin to Enforce Affordable Care Act Employer Penalties
Internal Revenue Service (IRS) to Begin to Enforce Affordable Care Act (ACA) Employer Penalties The IRS has not, until now, begun enforcing the employer shared responsibility penalties under ACA, even though the shared responsibility provisions have been in effect since 2015. Some employers may have been lulled into a false sense of comfort with.Read More
What We Know About New York State Paid Family Leave
New York State Paid Family Leave New York State is rolling out the most comprehensive paid family leave law in the nation. The New York State Paid Family Leave Act (NYSPFL) was included in last year's state budget and proposed rules were issued on February 22, 2017. The comment period on the proposed rules closed.Read More
School's Out: What to Remember When Employing Minors
Warm weather is on the way! Schools will be empty and minors will be looking for ways to make extra money! This can be a win-win for organizations. Employers can provide positive employment experiences for young people and build a pipeline of new talent and innovation for their organization. However, before employees start their first.Read More
Freelance Isn't Free- New Requirements for New York City Employers
"Freelance Isn't Free Act" (FIFA) – New York City Employers Effective May 15, 2017, the New York City "Freelance Isn't Free Act" (FIFA) will place additional requirements on companies who do business with "freelancers", otherwise known as independent contractors. The new law provides additional protections for freelance workers and imposes penalties to employers who do.Read More
Don't Get Into Hot Water This Summer- Unpaid Internships
It is essential that employers pay attention to federal and state rules when considering offering internships. The rules and regulations regarding internships are governed by the federal, and in some cases state, wage and hour laws. For example, New York has much stricter criteria for an internship to be unpaid than does the federal law.Read More
Two California Updates on Use of Criminal Histories in Hiring
State of California Further Restricts Use of Criminal History in Hiring Effective July 1, 2017, new regulations are effective in California regarding an employer's use of criminal background history in employment decisions. The California Fair Employment and Housing Council (FEHC) finalized the new regulations in January of this year, which very closely mirror the United.Read More
10 Tips for Keeping the Joy in Your Holiday Party
Throwing a holiday party for your employees is a great way to show your appreciation for their hard work throughout the year. However, without proper planning, an office holiday party can quickly go from delightful to frightful. To keep your party as fun and festive as possible, follow these ten tips: Consider a Non-Traditional Holiday Celebration If.Read More


text: I have not hacked my Wii or done anything to it yet. I turned it on and I get a message saying the System files are corrupted. I called Nintendo and they said I have to send it in to be repaired. Is there a way I can repair it by hacking it? As soon as I turn it on I get the error message. Can I boot from an SD card? Thanks.


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Heavy Metal Testing Services
By keeping track of current market development, we provide Heavy Metal Testing Services to our valuable clients across the nation. Our offered services are provided in the best possible manner as per requirements of the different industrial specifications. Our skilled professionals provide these services as per the detailed specifications of our prestigious clients. These services are extensively demanded in the market and acknowledged for their reliability and flexibility.
Testing Parameters:


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On the list of things guaranteed to give you a migraine, data migration is a close second to fingernails on a chalkboard. Even the best-laid plans always seem to have something go awry. Whether it is the unexpected data source discovered in the final hour, the laundry list of issues from user testing or the seemingly endless budget overruns and launch delays, everyone seems to have a data migration horror story to tell. While there is no magic pill or silver bullet to make data migration efforts flawless every time, there are a couple of ways to soothe the pain.
Data migration is an IT issue. Business users expect to have accurate, appropriately accessible data, but they don't care about the details of how or where the data is stored. While there will be many business considerations to make throughout the data migration process, the planning and implementation of moving data from one system to another rests solely on IT's shoulders. Business users must be engaged to identify the needs and use of data throughout the organization. The buy in of the business users will be critical because they will be the ones using the data once the migration is complete. However, just because the business users are engaged and consulted does not mean they are responsible for the success of the migration. The brass tacks of making the migration happen and ensuring the data is readily accessible is the responsibility of IT. The accountability for the success (or failure) of data migration is all in their hands. It is a huge responsibility not to be taken lightly.
Data Virtualization: Pain relief method #1, the red pill
Data virtualization allows IT to put a data services layer in between the data sources and business users. Rather than directly accessing data sources, consuming applications connect to the virtualization server and pull data from virtual views based on defined business terms. The data pulled from the sources can be cached at the virtualization server to provide persistent availability even if a data source has intermittent availability. If a data source changes or requires an upgrade for whatever reason, the change can happen in the background without affecting the business environment. Unexpected coding challenges are significantly reduced, if not eliminated, as the need to script rules and processes between every application and data source is no longer necessary.
When data needs to be migrated in a virtualized data environment, if there are unexpected hiccups, there is not a direct impact on the business environment. This removes many of the common causes for the IT data migration headache. It is important to note that data virtualization will not be answer to every data migration and integration problem. However, using data virtualization as part of a larger enterprise data management plan streamlines data access and integration and frees resources to work on other, more detailed (and often higher profile) initiatives.
Data Governance: Pain relief method #2, the blue pill
Data migration, by nature, is often project based at best. In fact, data migration is often considered a step of an overarching project. All too often efforts from multiple migration projects overlap and are duplicated resulting in unnecessary costs, missed deadlines and employee burnout. While there are definitely specific requirements for varying projects, much of the heavy lifting can be eased through well-defined, repeatable processes. Data migration projects steered by data governance programs are more successful, because data governance provides a framework for decisions, methods, procedures and strategic alignment of cross-functional efforts.
Data governance is a powerful pill as it not only knocks out the causes of the common data headaches, it helps prevent them. Data migration headaches are no exception. A finely tuned data governance program can reduce duplicate data throughout the organization, reduce errors in reporting and coding and reduce costs associated with poor data quality. The administrative framework and council of a well-defined data governance program support decisions, especially cross-functional decisions, with objectivity and consistency, allowing for decisions to be made quickly with greater accuracy and confidence. The data governance charter also supports and encourages business and IT collaboration as well as interdepartmental data sharing. Business rules, processes and data requirements are consolidated and architectural decisions are made from an enterprise view (rather than departmental) when managed under the direction of data governance. The structure, rigor and organization of data governance and management allow data migration projects throughout the organization to be completed using consistent, repeatable methods allowing the projects to be completed in less time, with greater accuracy and efficiency. Successful data governance rests in the hands of business and IT. So, while data governance is indeed a powerful pill, it is one everyone must take together to achieve desired results.
Data migration projects will continue to be full of surprises, but as with most headaches, if you can get relief for the worst symptoms, you gain the strength to take on the rest of the challenges. Take the red pill, the blue pill, or take them both whichever you choose, here's to being able to turn on the lights and think clearly again.
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THE ARTIST creates in order to have an impact on his world. Michaelangelo presented his view of the world through his sculpture and painting. Claude Monet wanted us to see light and shape in a new way.
Fred Wilson, an installation artist whose work is currently on exhibition at the Maryland Historical Society, presents us with a uniquely contemporary view of our society.
Mr. Wilson's vision is presented in "Mining the Museum," a work of installation art that allows viewers to step into the artist's vision, then forces them to confront the world from that new perspective.


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During the GOP campaign for President an issue came up concerning candidate Rick Santorum. He said:
One of the things I will talk about, that no president has talked about before, is I think the dangers of contraception in this country." And also, "Many of the Christian faith have said, well, that's okay, contraception is okay. It's not okay. It's a license to do things in a sexual realm that is counter to how things are supposed to be.
Santorum then said that he believes that states have the legal right to ban contraception under the US Constitution. This is the much bigger issue, even more staggering is the man's personal belief on condoms and birth control pills. During last week's debate on ABC, George Stephanopoulos tried to push Santorum and Mitt Romney on the issue. Both candidates played off the question by saying that it doesn't matter because no state right now is going to try and ban contraception. In their answers though they both said that the US Constitution does not contain a right to privacy.
This leads to the bigger question, where do candidates stand on the all important right to privacy? The Constitution contains many parts discussing privacy, but never uses the words "right to privacy" which many conservatives see as a loophole. The first amendment guarantees us the right to our beliefs, third amendment guarantees us privacy in our home, the fourth protects our person and belongings, the ninth gives us a more general protection of privacy, and the fourteenth has a liberty clause in it that says "No State shall… deprive any person of life, liberty, or property, without due process of law".
This whole argument reminds me of a scene in one of my favorite tv shows, The West Wing
Back on November 24, 1999, an episode of "The West Wing" in which President Bartlet chooses a supreme court nominee. When one of the candidates says there is no right to privacy in the Constitution, an aide played by Rob Lowe says, "In 1787 there was a sizable bloc of delegates who were initially opposed to the bill of rights. This is what a member of the Georgia delegation had to say by way of opposition: 'If we list a set of rights, some fools in the future are going to claim the people are entitled only to those rights enumerated and no others'." The judge candidate then demands, "Were you just calling me a fool?" Lowe's character replies, "I wasn't calling you a fool, sir, the brand new state of Georgia was."
The right to privacy has been cited as law by the Supreme Court Of the United States. It has been the basis for decisions such as Lawrence v. Texas. The state of Texas tried to prosecute people after they made sodomy illegal. The Supreme Court cited a right to privacy as one of the many reasons this law was illegal. In fact going back to the original contraception issue, in 1965 the Supreme Court of the United States ruled that the state of Connecticut could not ban contraception based on married couples right to privacy.
We are now in the year 2012 and there are a group of men running for president who don't believe that we have a right to privacy. In fact every major candidate has said that the Constitution does not have any such guarantee. This is their argument for overturning Roe. v. Wade and for giving states the right to ban contraception. Even Ron Paul who claims to be Mr. Liberty is a fraud on real issues of liberty.
There is only one candidate running who has uttered the words that the United States Constitution guarantees us a right to privacy, that candidate is Barack Obama.


text: The UK Corporate Governance Portal - Executive pay Contacts Paul Griffin London Catrina Smith London Chris Pearson London Executive pay has been a hot topic for some time, particularly in relation to UK incorporated quoted companies. The UK Government consulted on ways to strengthen the link between pay and performance and addressed the issue through greater transparency, enhanced shareholder voting rights and more diversity in board rooms. Reforms to the executive remuneration framework took effect from October 1, 2013 but it continues to be an issue at many AGMs and an Executive Remuneration Working Group established by the Investment Association published a report on the topic in July 2016. A number of organisations have considered the issue of executive remuneration and bodies representing institutional investors have their own guidelines on executive pay and performance, severance pay, golden parachutes and executive compensation generally. Executive remuneration framework GC 100 Directors' Remuneration Reporting Guidance – August 2016 GC100 Directors' Remuneration Reporting Guidance: 2015 Statement - December 2015 GC100 Directors' Remuneration Reporting Guidance: 2014 Statement - December 2014 Large and Medium-sized Companies and Groups (Accounts and Reports) (Amendment) Regulations 2013 – August 2013 BIS FAQs on directors' remuneration reforms prepared - March 2013 Institutional investor guidance The Investment Association Letter to chairs of remuneration committees - November 2017 The Investment Association Principles of Remuneration - November 2017 PLSA Corporate Governance Policy and Voting Guidelines 2017 - January 2017 ICGN Guidance on Executive Director Remuneration – October 2016 ICGN Guidance on Non-executive Director Remuneration – October 2016 QCA Remuneration Committee Guide - July 2016 (These are not available online but can be purchased from QCA) PIRC UK Shareholder Voting Guidelines 2017 - April 2017 (These are not available online but can be purchased from PIRC) Local Authority Pension Fund Forum Expectations for executive pay - April 2013 NAPF Letter to FTSE 350 Chairman calling for restraint on boardroom pay - March 2013 Executive Remuneration - ABI Position Paper - December 2009 ABI and NAPF Joint Statement on Executive Contracts and Severance - February 2008 Other reports and developments Government response to BEIS Committee's Third Report of Session 2016-17 - September 2017 Government response to BEIS Corporate Governance Reform Green Paper - August 2017 BEIS Committee Corporate Governance: Third Report of Session 2016-17 - April 2017 BEIS Corporate Governance Reform Green Paper - November 2016 Big Innovation Centre The Purposeful Company – Interim executive remuneration report - November 2016 ICSA Call for a fresh approach to tackle remuneration – September 2016 High Pay Centre Report "Restoring Responsible Ownership: Ending the Ownerless Corporation and Controlling Executive Pay" – September 2016 BIS Select Committee Announcement of Corporate Governance - September 2016 High Pay Centre Report "The State of Pay: High Pay Centre briefing on executive pay" – August 2016 PwC "Time to listen" Report on public attitudes to executive pay and inequality – July 2016 Executive Remuneration Working Group Final Report – July 2016 Executive Remuneration Working Group Interim Report – April 2016 Remuneration Consultants' Group The biennial review of the Code of Conduct and the annual review of its effectiveness and implementation – February 2016 High Pay Centre Report "No routine riches: Reforms to performance-related pay" - May 2015 BIS How companies and shareholders have responded to new requirements on the reporting and governance of directors' remuneration (Research paper No.28) – March 2015 High Pay Centre Executive remuneration in the FTSE 350 – a focus on performance-related pay - October 2014 High Pay Centre The effect of executive pay reforms - June 2014 FRC Consultation on proposed revisions to the UK Corporate Governance Code – April 2014 Remuneration Consultants' Group Voluntary Code of Conduct - January 2014 Remuneration Consultants' Group The biennial review of the Code of Conduct and the annual review of its effectiveness and implementation – January 2014 Government's response to report to the House of Commons Business, Innovation and Skills Committee's report on the Kay Review – November 2013 FRC Consultation on Directors' remuneration - October 2013 House of Commons Business, Innovation and Skills Committee "The Kay Review of the UK Equity markets and long-term decision making" – July 2013 Financial Reporting Lab Project Reporting of pay and performance - March 2013 BIS Ensuring equity markets support long-term growth - Government response to the Kay Review - November 2012 Financial Reporting Lab Opportunity for companies to test BIS' proposed remuneration reporting regulations with the investment community - November 2012 The Kay Review of UK equity markets and long-term decision making: Final Report - July 2012 Financial Reporting Lab A single figure for remuneration - June 2012 Our briefings Executive remuneration: Revised regulations published, March 2013 Executive remuneration: Draft legislation published - July 2012 Executive remuneration: Reforms announced by the Government - June 2012 Executive remuneration: Consultation on voting rights for shareholders - March 2012 Executive remuneration: The Government's proposals - January 2012


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iVET360 Introduction
Simplify. Strengthen. Improve.
Thank you for your interest in iVET360! We work with veterinary hospitals of all sizes across the United States, and our clients see, on average, 18% new client growth, 11% revenue growth and increased staff satisfaction. We look forward to meeting you and learning more about your practice.
For more information about iVET360's services, please fill out the form below to schedule an introduction.


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Manistee, MI
Posted on July 30, 2018
Short URL: https://mynorth.com/job/417158
About Driver
Buckle up, hit the open road and start making hungry people happy as a delivery driver for Pizza Hut®. That's right, we'll pay you to cruise around in your mobile office â your car â listening to your own tunes and delivering great pizza â and pasta. What more could you want? Independence, good music and great food â with tips! Sound good?
Besides your smile, energy and reliable set of wheels, here's what you'll need for this job: Attained 18 years of age, auto insurance for your vehicle, a clean driving record, and the ability to pass a background check.
Job at a Glance
About Pizza Hut
More jobs at Pizza Hut


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Ethics Activities
The Program is committed to promoting high standards for the practice of science and engineering, and monitoring and enhancing assessment of emerging ethical issues related to science and technology through a variety of projects and activities. To learn more about our current initiatives and projects, click on the links in the grey box above, or continue reading.
More About Our Ethics Activities
- The Social Responsibilities of Scientists and Engineers AAAS received a grant to design and pre-test a global survey that will generate data about the views of scientists and engineers on their social responsibilities. Learn more about this project
- China and Research Integrity AAAS and the China Association for Science & Technology are engaged in dialogue on the ethical and social responsibilities of scientists and engineers. Learn more about this project


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Kokako Sustainability Report
Last month our friends at Kokako launched their first sustainability report. In it they recognise that its near impossible to run a flawless business - environmentally, socially and economically - while sill being a financially sustainable enterprise. But they also know there's room to improve. Their sustainability report is an opportunity and a responsibility to respond to these challenges and seek a better way.
A compelling read for anyone interested in ethical and sustainable business management.


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Top 6 Reasons to exhibit at the small BIZ VT summit 2017:
- Generate lucrative new business leads organically by engaging with the Summit's attendees and exhibitors. We anticipate welcoming at least 300 business and community leaders!
- Pre-schedule valuable business-to-business meetings in our dedicated meeting space! Get face time with potential investors and buyers!
- Connect with your local community – fellow business owners and future patrons – and become rooted in Vermont's tight-knit business network!
- Shop for new and innovative products to help grow your business and maximize your potential!
- Become more competitive in your market by capitalizing on the unique opportunity to have all of your competition in one place!
- Take advantage of BOTH fresh and dynamic educational tracks: "Start Small, Dream Big" for new and growing businesses, and "Talent, Your Competitive Advantage" for developing and retaining your workforce. Both tracks provide educational workshops involving local success stories, and strategies your business can implement immediately!
For more information on becoming an exhibitor, email Victoria. To register for a booth or to register to attend, click here.